Silver Crane Awards 2017 Lithuania

It’s been some good weeks for Lithuanian director Audrius Stonys. He won an award at DocsBarcelona and one at Krakow Film Festival and last night he received for the fourth time the national award for the best documentary 2017, “Woman and the Glacier”. The award is a trophy statuette of Silver Crane created by the sculptor Audrius Liaudanskas, given out for the 10th time.

Viewers of “Woman and the Glacier” will agree that the award for best cinematography went deservedly to Audrius Kezemys for his work on “Woman and the Glacier”. Superb is the only word that fits.

And no surprise that the award for best co-production went to Giedre Zickyte for her work with Chilean Maite Alberdi “I am Not from Here”.

Same Zickyte was not present at the ceremony as she was pitching a project at the Sheffield Doc/Fest together with director Marija Stonyte, who won the award for Best Student film, “Mountains Mountains”. Yes, Marija is the daughter of Audrius…

Photo of the two x Audrius, Stonys and Kezemys.

More winners for fiction and animation… check the website of Lithuanian Film Centre, an English list must be on its way:

http://www.lfc.lt/en/

FolkeBio Allinge /FREDAG

FILM & DEBAT

Det Danske Filminstitut inviterer i samarbejde med Politiken til film og debat under Folkemødet 2017 i Allinge. Se programmet for FolkeBios første dag her med Filmkommentarens anbefalinger føjet til:

FREDAG DEN 16. JUNI

10:30 | BIG TIME

Instruktør: Kaspar Astrup Schröder. Få indblik i de kreative processer hos den verdenskendte og innovative arkitekt Bjarke Ingels, mens han kæmper for at fuldføre sit største projekt til dato. Vi følger arbejdet og de mange kompromiser, det kræver, og vi er med, når privatlivet presser sig på.

FILMKOMMENTARENS ANBEFALING

Bjarke Ingels er sjov at være sammen med. Han er, når han taler dansk, den 40 årige uhøjtidelige drengerøv som elsker sit fede job, ”vil gøre en forskel”, er visionær og får den internationale anerkendelse som han fortjener, når man ser de mange bygninger, han har lagt navn til i Danmark and all over. Hans drømme er gået i opfyldelse.

Og han er den fremragende fortæller, når han på engelsk ved det hvide papir tegner og fortæller – om tankerne bag forbrændingsanstalten og dens skibakke og om arbejdet i New York med at omforme verdens mest berømte skyline. For at bruge hans eget udtryk, på dansk, er det sindssygt spændende at se arkitekten med en tuschpen ved det hvide papir, filmet en face eller fra oven. Her træder filmens instruktør ind og arrangerer for tilskueren. Visualiserer hvad det er arkitekten kan og gør. Det er medlevende og oplysende… Læs hele Tue Steen Müllers anmeldelse her: http://www.filmkommentaren.dk/blog/blogpost/3908/

13:30 | VENUS

Instruktør: Lea Glob, Mette Carla Albrechtsen. Filmen fortæller ærligt og sårbart om kvinders forhold til sex – om lysten, ulysten, fantasierne, følelserne, opdagelserne og alt det, vi aldrig taler om. En række unge kvinder deler modigt deres tanker foran kameraet. // Efter filmen er der samtale med instruktør Mette Carla T. Albrechtsen, Emilia van Hauen, kultursociolog, og Anders Haahr Rasmussen, journalist og forfatter.

FILMKOMMENTARENS ANBEFALING

I enjoyed Venus (great title by the way). I found it very true, the women who appear show honesty and not always, of course, security or self-confidence. Actually they show embarrassment sometimes too. It’s incredible how you get into their intimacy, it’s like you get little by little into their sexuality until they, at the very end, are naked. It’s beautiful. It is very natural and simple. I like the way it has been shot too… Læs hele Martina Rogers her: http://www.filmkommentaren.dk/blog/blogpost/3852/

16:30 | … når du kigger væk

Instruktør: Phie Ambo. Hvor går bevidsthedens grænser – og er vi forbundne på måder, vi ikke anede? Phie Ambo stiller de store spørgsmål i et filmisk eksperiment med overraskende svar. // Efter filmen er der Q&A med instruktøren.

FILMKOMMENTARENS ANBEFALING

Phie Ambos vidunderlige film træffer mig øjeblikkelig mens jeg er uforberedt åben et meget personligt ellers næsten glemt sted, en næsten glemt erindring, en erkendelseshemmelighed, min tidligste tanke om kosmos. Juno, filmens første medvirkende, ligger og skal sove, det er åbningsbilledet. ”Er jeg et menneske eller et dyr?” spørger hun Phie Ambo som taler sagte med hende.

Da jeg var barn og lidt større dreng husker jeg med ét, at jeg ustandselig var optaget af enten at jeg var hele verdensaltet og, inspireret af atommodellen, at utallige solsystemer og levende verdener var indeholdt i eller faktisk udgjorde min krop, var mig, eller at nu der kun var mig, så var det mine sanser som producerede hele min omverden, hvad jeg så af ting og dyr og mennesker, hvad jeg læste og lyttede til og følte med mine fingre. Alt var mine sansninger og jeg selv var helt alene. Tanken forlod mig, svækkedes lidt efter lidt, men forsvandt aldrig helt… (Begyndelsen til min anmeldelse som bringes på Filmkommentaren senere.)

19:00 | DER KOMMER EN DAG

Instruktør: Jesper W. Nielsen. Året er 1967. På Nørrebro fjernes to brødre fra deres syge mor og anbringes på et børnehjem, hvor tiden står stille, og forstanderen har sin egen filosofi og barske reglement. Drama om tyranni og oprør, baseret på virkelige hændelser på drengehjemmet Godhavn.

FILMKOMMENTAREN

Vi har på Filmkommentaren ikke set filmen endnu, men vi glæder os…

http://www.dfi.dk/Nyheder/FILMupdate/2017/juni/Program-til-aarets-Folkebio-er-klar.aspx  (her er hele programmet for de tre dages film i FolkeBio)

Folkebio Allinge Shows Docs

And then you should know what that means. Allan Berg introduces the films that will be shown in Allinge on the island of Bornholm in the Baltic Sea, where Folkemødet, Denmark’s Political Festival on Bornholm takes place June 15.-18. 2017. The idea behind the Folkemødet is a meeting of people and politicians, where Bornholm provides the venue for Danish politicians to debate current political issues. All events are free and within walking distance of each other. Each political party represented in Folketinget has the opportunity to hold a major speech…

And there are films, selected by the Danish Film Institute and the newspaper Politiken. The first ones to be shown on thursday are Lise Birk Pedersen’s Italian based ”Tutti à Casa”, followed by Danish photographer activist Jabob Holdt and the film about him, and Pernille Rose Grønkjær’s portrait of stand up comedian Anders Matthesen, ”The Other Side” – of the artist.

Follow Allan Berg and his recommendations on this site.

FolkeBio Allinge /TORSDAG

FILM & DEBAT

Det Danske Filminstitut inviterer i samarbejde med Politiken til film og debat under Folkemødet 2017 i Allinge. Se programmet for FolkeBios første dag her med Filmkommentarens anbefalinger føjet til:

TORSDAG DEN 15. JUNI

14:00 | “TUTTI A CASA

– Al Magt til Folket?”. Instruktør: Lise Birk Pedersen. Filmen følger det italienske protestparti Movimento fra outsider til magtfaktor i det italienske parlament og skildrer dermed en generel udvikling inden for de vestlige demokratier.// Populisme og politikerlede er temaet for den efterfølgende debat, hvor instruktøren fortæller om sin kommende film “Demokratiløftet”. Mød Lise Birk Pedersen, Victor Boysen, RU, Lasse Quvang Rasmussen, DSU, og Tobias Weische, DFU.

FILMKOMMENTARENS ANBEFALING

Vi er 83 minutter inde i filmen, her er det dramatiske højdepunkt, i billedet ser vi de egentlige medvirkende bortset fra en. Kvinden i midten er Paola, manden til højre er Alberto, manden til venstre er Mario. Den fjerde hovedperson er fraværende, det er den på det tidspunkt i filmens forløb ekskluderede Luis. Scenen sammenfatter filmens to vigtigste dramatiske forløb, den pludselige vækst, men så også uenighederne og eksklusionerne i det nye parti i Italien, Movimento 5 Stelle og nedturen for den tidligere regerende partikoalition og især den dominerende Silvio Berlusconi… Læs hele min anmeldelse her: http://www.filmkommentaren.dk/blog/blogpost/3793/

16:30 | JACOB HOLDT

– Mit liv i billeder. Instruktør: Niels-Ole Rasmussen. Kom tæt på Jacob Holdt, manden bag Amerikanske Billeder, som her gør status over sit begivenhedsrige liv. Filmen er en hyldest til rejsen, eventyret, visdommen og kærligheden. // Efter filmen er der Q&A med Jacob Holdt.

FILMKOMMENTARENS ANBEFALING

Fotografen Jacob Holdt er tilbage i et fotografi han optog for fire årtier siden. Eller rettere han er tilbage det sted hvor han optog fotografiet. Det var et hus, hvor der boede en kvinde med sin lille søn. Nu er kvinden borte og alle spor efter hendes nænsomhed og omhu i hverdagene dengang. Sønnen er også væk, sporene som Holdt møder i huset er efter sønnens opløsning som menneske i en vanrøgt af barndomshjemmet som er en ruin omkring et mere end trist rod. Jacob Holdt opsøger på den måde en suite scener fra sine optagelser dengang. De er bestemt ikke alle nedslående som denne, de fleste er opløftende fortsættelser af mødet for så længe siden, som var årene siden sidst ikke disse mange… Læs hele min anmeldelse her: http://www.filmkommentaren.dk/blog/blogpost/3704/

19:00 | DEN ANDEN SIDE

Instruktør: Pernille Rose Grønkjær. Anders Matthesen har netop rundet de 40 år og har længe været et fænomen i dansk underholdning. Med samme råhed og ærlighed, som vi kender fra scenen, bliver vi for første gang inviteret med ind i hans private øjeblikke. En hæsblæsende fire år lang rejse gennem kaos, succes, tvivl og grin.

FILMKOMMENTARENS ANBEFALING

Jo for pokker, der bliver hoppet rundt i tid og sted. Det er film og her leges der, her forsøges der noget. Som passer til hovedpersonens nogle gange platte, nogle gange sofistikerede ordekvilibrisme og hans konstante associationer. Det er herligt at se, hvordan Grønkjær med sine klippere Kasper Leick og Jacob Thuesen giver fortællingen et dynamisk flow; nogle gange er det akkurat som konen siger til Matthesen at hans show skal være: totalt poetisk og vildt sjovt. Et eksempel er en scene i bilen – Grønkjær har kørt meget i bil med Matthesen – hvor han fortæller, hvordan han kan huske landene i Asien. Bahrain, ja regn, og så klippes der regn ind. Thuesen som klipper, jeg tænkte undervejs tilbage til hans arbejde på Jørgen Leths Haiti-film… Læs hele Tue Steen Müllers anmeldelse her: http://www.filmkommentaren.dk/blog/blogpost/3909/

http://www.dfi.dk/Nyheder/FILMupdate/2017/juni/Program-til-aarets-Folkebio-er-klar.aspx (her er hele programmet for de tre dages film i FolkeBio)

Peace Award Comeback at DOKLeipzig

At the 60th edition of DOKLeipzig (October 30 – November 5) the so-called Leipziger Ring Film Prize returns to the festival after having been away for one year due to lack of funding. It comes back in a new form, here are quotes from the press release that reached us this morning:

”After a one-year break, the Stiftung Friedliche Revolution (the Peaceful Revolution Foundation in Leipzig) will once again be awarding the Leipziger Ring film prize at DOK Leipzig. The 2,500 euro prize will honour a documentary film about human rights, democracy and civic action. From 2010 to 2015, the prize was awarded annually but the foundation had to break with this tradition last year because of a lack of funds. The response of dismay encouraged the foundation and DOK Leipzig to re-launch the prize. In its new form, the festival audience will decide on the winning film instead of a jury of experts.

“Thanks to the overwhelming reactions of Leipzig citizens, the international audience and the resolve of the Stiftung Friedliche Revolution, this significant prize has returned to DOK Leipzig,” says festival director Leena Pasanen. “The response showed how important this award is for the city in which the Peaceful Revolution began. The prize is also extremely necessary at a time when political developments indicate that democracy and human rights are at stake all over the world.”

… DOK Leipzig will nominate five documentary films (at least 25 minutes long) from its Official Selection for the award, which will reward artistic documentary films that focus on the civic action of people all over the world and explore the non-violent struggle for democracy and human rights and participation in societal processes. The prize might also honour the achievement of directors who make films in a courageous way and with great personal commitment against the odds and despite a lack of freedom of speech and press.”

http://www.dok-leipzig.de

Sheffield Doc/Fest 2017/2

Carol Nahra, one of many fine contributors to the late DOX Magazine, made late May a fine interview with the new Sheffield Doc/Fest festival director Luke Moody (photo) on her ”Docs on Screen”. The whole interview – link below – is recommended as Moody not only talk about films from the festival but comes up with interesting comments and reflections on the documentary of today, like these ones:

Question: I was wondering if you could talk a little bit about how documentary storytelling is evolving creatively and expanding and overlapping with drama?

There are two directions, or trends that I’ve seen in particular. There’s a renewed interest and passion for verité storytelling. Really strong observational films produced over three or four or six years in some cases, that are just like really close and warm narratives. The majority of those are family stories, things like The Cage Fighter, or Quest, which is a really outstanding debut by a filmmaker who was a photographer… Mama Colonel is another one of those,  by Congolese filmmaker Dieudo Hamadi,  which is like a Kim Longinotto film. So there has just been this – I guess it’s not a reemergence of that style of storytelling, because a lot of them are made over a long period of time –  but perhaps it’s a reaction to the presence of fake news these days. People are wanting to return to very much the nitty gritty of factual storytelling and observation and just being very embedded within a community that they’re trying to portray. So that they get some sort of shared truth within that development. And I think the majority are films which have not been initially funded. They are things that have evolved from other projects…

… (the other) has this really strong conceptual approach to filmmaking and the way that we interpret reality to storytelling. Ghost Hunting is one of the most powerful. A really reflexive piece that explores the power between direction of a filmmaker and those portrayed on the camera, to the point where the tide turns and they start to question what he’s trying to achieve with the film. And he has to then become open and become vulnerable as a director to be part of that shared experience of change within the film…

https://docsonscreens.com/

DOCAlliance /3 DIMANCHE À PÉKIN

CHRIS MARKER: DIMANCHE À PÉKIN

Chris Marker er på optagelse, det er 1955, det er i Kina… Det var jo tidligt efter krigen, så det var tidlige scener fyldt med ærbødighed og håb for den unge revolution han optog. Jeg ved ikke om han var alene, det må jeg have fundet ud af, men jeg ser at Agnes Varda er krediteret for Kinakyndig medvirken. Og det har sat sig smukke spor så det nye Kina det smukke lille essay igennem spejler sig i og på mange mange måder ses fortsætte og udvikle de bevarede elementer af den gamle kultur som Marker lærte at længes mod i sin barndoms billedbøger og fortællinger om drager og kejsere og sværdsvingende atleter og dybt disciplinerede boksekæmpere.

I den velskabte korte film, som kom ud af det som et stykke fejlfri cinematografi, mønstergyldig i samtiden, virker alle elementer kongenialt med Markers mesterligt klassisk akademiske optagelser uden lyd, den gennemtænkte nykomponerede musik af Pierre Barbaud, de muntert præcise lydeffekter ved Arkady (groupe des XXX) lagt på den kunstfærdige lydside af Antonio Harispe i sin tids design, Fracine Gruberts yderst elegante klipning , produceren Madeleine Casanovo-Rodriquez også fra (groupe des XXX), hendes sikre hånd og først og sidst den kloge gennemløbende stemme henover, som Marker har skrevet i sin tænksomt formulerede patos med sommerfuglens lethed.

Chris Marker: Dimanche à Pékin, Frankrig 1956 (restaureret i 2013), 19 min. Kan ses disse dage på:

https://dafilms.com/film/10152-sunday-in-peking

OM AT ERINDRE

“At the same time, Marker merrily messes up the boundaries between individual and cultural memory by acknowledging that his observations have been heavily coloured by his own experience of popular culture – from the storybooks of his childhood to the newsreels and fiction films consumed throughout his life. The outer townships of the city with their banners and tiny lanes are the “Peking of the movies”; the Forbidden City is the “Peking of Jules Verne and Marco Polo…”. We understand what he means instantly – an understanding that is dependant on our own collective experience of Western culture, now used to interpret a filmmaker’s personal memories written down over 50 years ago.” (Louise Sheedy, Senses of Cinema, september 2009)

Sheedys kommentar er argumenteret antropologi-videnskabelig orienteret, men tag ikke fejl, hun er helt indforstået, se videre her:

A CHAIN OF LOGIC

“… Later, the narrator describes girls dancing and singing a tune that would stay with him for the rest of the day. This is accompanied by a montage of little dances; firstly girls in uniform, playing a kind of game, then another group of older girls, dancing in a circle. One of the raised arms is the matched to the arm of a man pulling a cart, waving to someone across the street. In the next shot we see a policeman with arm raised as he directs traffic. All these links form a chain of logic that again suggests the performative dynamic between the tourist or visitor and the local – a separation that, while not insurmountable, needs to be acknowledged.” 

http://sensesofcinema.com/2009/cteq/all-the-thrills-of-the-exotic-collective-memory-and-cultural-performance-in-chris-markers-dimanche-a-pekin/ 

Sheffield Doc/Fest 2017

… is running right now. The industry part has for years now proved to be the place to go to pitch in the first half of the year with the IDFA Forum being the one at the second half. The list of tv editors visiting is impressive and producers want to go there it seems; the list of projects to be pitched at the so-called Meetmarket is looong.

But what about the festival part of Sheffield Doc/Fest that I have previously criticized for being totally UK/USA orientated with tv documentaries as the dominant genre. Going through the program on the website it still looks like that and yet behind the many titles that I don’t know so let me take a quote from an interview in Screen Daily:

“Sheffield Doc/Fest’s Luke Moody is looking to expand the creative scope of the festival and welcome more experimental works.

This year’s edition of the UK festival, which runs from 9 to 14 June, marks Moody’s first turn as director of film programming, having moved to Doc/Fest after six years at non-profit organisation Britdoc, where he was most recently head of film.

“There’s an increasing hunger for artful films, and a growing confidence for filmmakers to make long-form docs that are playing with form,” he said.

Moody has instated six thematic programming strands to expand the “creative spectrum” of the festival: Doc/Vision, Doc/Adventure, Doc/Expose, Doc/Love, Doc/Think and Doc/Rhythm.

The Doc/Vision strand will comprise 20 long- and short-form films that feature more artful forms of filmmaking.

Highlights include Raed Andoni’s Berlinale-winning film Ghost Hunting (Photo), in which Palestinian ex-prisoners recreate Israeli interrogations; Kitty Green’s Netflix-backed Casting JonBenet, a stylised exploration of the unsolved death of six-year-old JonBenet Ramsay; and Timothy George Kelly’s Brexitannia, which interviews British citizens about the UK’s social and political landscape.”

And there are well known films on the program like Laura Poitras Assange-film ”Risk”, Askold Kurov’s film on Oleg Sentsov, Pawel Lozinski’s ”You have No Idea How Much I Love You”, a wonderful small retro of films from 1967 like Allan King’s ”Warrendale” and Shirley Clarke’s ”Portrail of Jason” and Chris Marker et al. ”Far from Vietnam”. Not go forget Danish Phie Ambo’s ”When you Look Away” that still has had no Dansih premiere, 

http://m.screendaily.com/5118882.article

https://sheffdocfest.com/

 

 

DOCAlliance /2 LA JETÉE

CHRIS MARKER: LA JETÉE

Det var i 2008. Jeg havde været til festival Cinéma du réel, og jeg skulle jo have noget med hjem til min filmklub. Noget fra Paris. Noget rigtigt. Jeg fandt det i Pompidoucentrets butik. En nyrestaureret dvd udgave af den udødelige film om byen, om kærligheden og om døden. Om tiden og om krigen og om det umulige i at undslippe. Dette billede er fra afsnittet om mødet og forelskelsen og foråret i Paris. Det er et still fra location. Jeg havde et andet Paris billede med også. Det er et still fra samme film. Byen lige før udslettelsen.

BIOGRAF

Filmen består af sådanne stills. Den er optaget med Pentax 24×36, bortset fra en enkelt, naturligvis berømt filmscene med øjne som bevæger sig, optaget med et Arriflex 35 mm lånt en enkelt time. Marker kalder det en filmroman. Han hylder i en lille tekst i programhæftet sin barndoms lommebiograf Pathéorama med serier af lysbilleder, ”… mais ces scènes étaint des plans, magnifiquement reproduits, de films célèbres, Chaplin, Ben Hur, le Napoléon d’Abel Gance.” En onsdag aften dengang så vi filmen i FOF filmklubben her i byen. Jeg var en begejstret og forvirret oplægholder, det her var filmhistorie og levende nutid på samme tid, det var noget rigtigt, noget dybt betydningsfuldt og noget mærkværdigt fra min ungdom, og jeg skrev et par notater til min præsentation af La jetée og to Marker film yderligere, som jeg selvfølgelig heller ikke havde forstået ret meget af, det mærkede man tydeligt, mærkede jeg tydeligt.

VOD

Så er der gået næsten ti år. Nu har jeg chancen igen disse dage med DOCAlliances Chris Marker serie. Jeg ser som den første La jetée nu igen. Og jeg tænker med det samme på Tarkovskijs Solaris, 1972, begge film handler jo om i en nutids ramme at rejse tilbage i erindringen, i Tarkovskijs til en nær fortid, i Markers films rammes fremtid tilbage til sin egen tid, til hans tid. Og begge films indhold er erindring om kærlighedstab, erfarede erindringer må jeg tro.

De overlevende fra det atomangreb, som har udslettet Paris, har dybt under jorden indrettet et samfund styret af gangsterorganiseret eksperimentel videnskab i et forsøg på med tidsrejser at overleve. I et sådant laboratorium foregår rammefortællingens kammerspil. Hovedpersonens gentagne vellykkede rejser til filmens egen tid består af en 1962 byfilm romance skildret ved lyriske stills, som jeg aldrig glemte, for de var også min dannelses tid.

Men der er tillige fra den frygtelige fremtid i intimteaterscenens laboratorium under den udslettede by drømte rejser frem i en fremtid, hvor Paris er genopbygget, hvor hovedpersonen efter sit besøg får at vide han er velkommen, men finder tilværelsen der ligeså frygtelig. Så nej, han er forelsket i sin egen tid, forelsket i forelskelsen, i kvinden, i kunsten, i haverne i byen, i det at vandre sammen med hende på det naturhistoriske museum, hvor fortiden er fascinerende, men trygt konserveret, forelsket i det Paris, som et atomangreb om kort tid vil udslette, så det ligner Hamburg 1944, Hiroshima 1945.

STORY

“This is a story of a man marked by an image of his childhood. The violent scene which upset him, and whose meaning he was to grasp only years later, happened on the the main pier at Orly, Paris airport some time before the outbreak of World War III… “ Fortsæt med filmen på: https://dafilms.com/film/10153-the-pier

Chris Marker: La jetée, Frankrig 1962, 29 min.

Adam Papliński: Pitch the Doc

While at the Krakow Film Festival I ran into an old documentary friend, Polish producer Adam Papliński, who invited me to hear more about a new online project that he is launching right now at different festivals around the world: Pitch the Doc. He has received financial support from the EU Media Program and from the Polish Film Institute and the projects is endorsed by EDN, European Documentary Network. On the website of the latter, in an interview with Papliński as ”EDN Member of the Month”, he explains how he got the motivation for this project:

“The official launch of the platform in beta version was publicly announced during the 2017 Berlinale. The idea to launch such an internet service came to my mind 2-3 years earlier… I had received a phone call from a Russian filmmaker that we had selected to pitch a project at one of our events (Dragon Forum, ed.). He explained to me that right now he was on the Barents Sea shore shooting the film and, even though he was honoured by our decision, he could not afford to come. He had no money to pay for accommodation, he had no passport and so on… I found it a real pity that such a good project could not show up on the European market and that around the world there are probably a lot of other outstanding ideas and film projects struggling with similar problems. On the other hand I heard feedback from decision makers that the market lacks fresh new ideas. The obvious place for matchmaking the projects and investors seemed to me to be online, but I was surprised when after several days of surfing I didn’t find a site providing an effective solution…”

That well known gap Papliński intends to close with Pitch the Doc, a place where the authors can place their proposal with the key information, we all know: logline, synopsis, treatment, link to trailer etc., all that which is asked for when you go to “live” pitching sessions – and where decision makers can place their demands.

I asked Papliński whether he thought that decision makers would sign up. He answered that several c.editors he had met liked the project very much, as “I am tired of travelling”.

A fine initiative in development, go the website and learn more and read the EDN interview where the Polish matchmaker explains more about Pitch the Doc that has a team of evaluators that is strong: Steven Seidenberg, Pawel Lozinski and Marijke Rawie.

www.pitchthedoc.com

http://edn.network/en/members/edn-members-of-the-month/